2017 - Simon Lee Gallery, London / Hong Kong
Loris Gréaud: (I), 2016 - Galerie Max Hetzler, Berlin / Paris
The conceptually slippery French multi-media artist Loris Gréaud pretends to present what would presumably have been the heaviest painting in the fair: though a modest 1.3 metres across, it is made of basalt - requiring the booth's wall to be reinforced. Any secrets of the image remain safe, though, behind the curtain carved by Vietnamese craftsmen: perhaps they would relate to Gréaud's 2016 film 'Sculpt', which also had its secretive aspect, being screened in a full-size cinema with only one viewer allowed at a time...
Robert Longo, as much as any current artist, is famous for drawing pictures - such as the monumental charcoals of refugees on view at the Metro Pictures booth. Art Unlimited, though, included this suspended globe studded with 40,000 copper and bronze full metal jacket bullets, a chilling reference to the annual extent of gun-related deaths in the USA - about two thirds are suicide or accident and the rest homicide.
The latest of Nick Cave's 'Sound Suits' - in mixed media including vintage textile, sequined appliqués, metal and a mannequin - has a soaring presence at over 2.5 metres', largely on account of a head suggesting very high intelligence. The series (so called because the first of them incorporated materials, such as twigs, which would make noises if a putative occupant moved) has been ongoing since 1992. Cave developed the suits as a pointed means of disguising identity, class and race in the wake of the Rodney King beating.
This unusual conjunction came about when Quaytman and Davey were showing along with Vivian Suter in Mexico City and decided that these two works looked better together: a painting on board which was otherwise very much at the simplest and most abstract end of RH Quaytman's practice, which often incorporate hard-to-focus-on stripes along with other elements; and Moyra Davey's exploration of the intimate problems of photographing family members, in this case her niece, whose skeleton-arachnid tattoo fits in perfectly.
Mariko Mori: Plasma Stone I, 2018 - Sean Kelly, New York
Can you see him? This is a detail of Antoine Baldwin playing very stylish piano from inside of Rashid Johnson's immense grid-come-ecosystem of black steel and wood with neon lights, plants, shea butter sculptures, books and videos incorporated. I could have bought it for around $1m, but the knock-on problems of finding a good gardener and pianist put me off...
Alicja Kwade: Treibwerk, 2016 - 303 Gallery, New York
Alicja Kwade is known for distorting everyday objects in order to question the metaphysical reality behind our conventional systems. So money, and the value it achieves, are an obvious fit for her investigations. Her assisted readymade simply adds cogs to a row of eight coins to suggest financial mechanisms at work. When you consider that around €3 so treated was on sale for €7,000, it becomes a working financial mechanism in itself.
Chris Ofili: Black Triangle 2, 2018 - David Zwirner, London / New York / Hong Kong
It was hard not to notice three tables on which Josh Kline had 3D-printed food together with body parts of a waitress - the flesh bearing corporate brands, some of the food naturally coloured and some taking its hue from the waitress's skin. Mark that down as a protest at how jobs define people, and at how low wage jobs critically depends on tips to bring them up to a subsistence level. I’m not sure what bill is being presented here, but the sculptures (in editions of 3) were $50,000 each.
Janice Kerbel: Death! Lust! Deceit! Love! Revenge! and Deceit! Love! Lust! Death! Revenge! (2014) at i8 Gallery, Reykjavik